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      Romeo Santos’s Melodramatic Return, and 13 More New Songs

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      Hear tracks by Jack Harlow, Flock of Dimes, Tame Impala and others.Every Friday, pop critics for The New York Times weigh in on the week’s most notable new songs and videos. Just want the music? Listen to the Playlist on Spotify here (or find our profile: nytimes). Like what you hear? Let us know at theplaylist@nytimes.com and sign up for our Louder newsletter, a once-a-week blast of our pop music coverage.Romeo Santos, ‘Sus Huellas’“Sus Huellas,” the first single from Romeo Santos’s forthcoming fifth solo album, “Formula, Vol. 3,” finds him reprising the bleeding-heart theatrics he’s known for, recalling the kind of cortavenas (roughly, “wrist cutting”) torment of bachata classics. This time, the genre’s white-pants-wearing, antics-obsessed lover boy is trying to recover from the despair of a lost love, and the melodrama is in overdrive: “Come, pull out my veins/Because the plasma inside of me has the poison of her love,” he sings. “And take this lighter, I want you to burn my lips/Eliminate the taste of her tongue, which did me harm.” It’s not all tradition though; Santos drops in an EDM interlude that will have uptown clubs losing it. ISABELIA HERRERAJack Harlow, ‘Nail Tech’Last year Jack Harlow went to No. 1 as the guest on Lil Nas X’s “Industry Baby,” and he’s learned something from that experience. “Nail Tech” has echoes of that song’s horns, and Harlow approaches the beat similarly, with imagistic rapping — “You ain’t one of my dogs, why do you hound us?” — and a confidence that makes this song sound like a victory lap. JON CARAMANICAC. Tangana, Omar Montes, Daviles de Novelda and Canelita, ‘La Culpa’The Spanish singer-rapper C. Tangana gets top billing on “La Culpa” (“The Blame”), a song added to the deluxe version of his 2021 Latin Grammy-winning album “El Madrileño.” But except for a brief, vulnerable bridge, he spends most of the song merged in harmony with three other singers who are more robust and closer to flamenco — Omar Montes, Daviles de Novelda and the especially gutsy Canelita — while rock drums and electric guitars join flamenco handclaps to pace the song. While the lyrics profess guilt and regret, they’re delivered with jolly camaraderie, suggesting that male bonding can easily overcome pangs of conscience. JON PARELESTame Impala, ‘The Boat I Row’Kevin Parker, a.k.a. the one-man studio band Tame Impala, took so long to release his 2020 album, “The Slow Rush,” that of course he had outtakes. “The Boat I Row” is from his collection “The Slow Rush B-Sides and Remixes.” It shares the album’s stately, logy, time-warped sound — psychedelically phased drums playing a hip-hop beat, multitracked vocal harmonies suggesting both the Beatles and ELO — and its thoughts about dogged persistence. “Even if it takes a hundred thousand goes/The way’s in front of me ’cause that’s the one I chose,” Parker sings, at once diffident and determined. PARELESFlock of Dimes, ‘Pure Love’Jenn Wasner, who records as Flock of Dimes, ponders unsatisfied desire — material and emotional — in “Pure Love,” recorded with the producer Nick Sanborn from Sylvan Esso: “I keep dreaming of a better moment,” she sings. She’s surrounded by looped voices and instruments, with ricocheting programmed beats that hit like 1980s drums; she sounds like she’ll persist. PARELESAsa, ‘Ocean’The songwriter Asa has forged a long career in Nigeria, singing about adversity and conflict as well as romance. But “Ocean” is pure affection. Asa is about to release her fifth studio album, “V,” and “Ocean” distills the ways Nigerian Afrobeats exalts Minimalism. The percussion is just a few syncopated taps, the bass lines are only two or three notes and Asa’s breathy voice floats with professions of pure devotion: “Boy, you are the ocean,” she coos, and everything about the song promises bliss. PARELESYeat featuring Young Thug, ‘Outsidë’Two generations of surrealists in one liquid pool of syllables. Yeat is still swooning over abstraction, and Young Thug, several years older, has learned how to form word-like shapes while still seeming to melt in real time. CARAMANICASigurd Hole, ‘The Presentation Dance’Like so many, the Norwegian bassist Sigurd Hole — a nimble-fingered player and a composer of sonically expansive, thoughtfully paced music — has been overcome with dismay at the fast-worsening climate crisis. Like too few, in the face of it he’s sought out wisdom and theory from non-industrialized societies. “The Presentation Dance” comes from his newest album, “Roraima,” which he made after reading “The Falling Sky,” a book by the Yanomami shaman and mouthpiece Davi Kopenawa. The rain-like pitter-patter of a marimba interacts with a small corps of strings, playing fluid and intertwined melodies that sometimes fall into a pizzicato repartee with the marimba’s mallets. GIOVANNI RUSSONELLOEd Sheeran featuring Bring Me the Horizon, ‘Bad Habits’Last week Ed Sheeran released a new version of his song “The Joker and the Queen,” accompanied by Taylor Swift. Pfft. Predictably pretty. Plain. This is more like it. “Bad Habits” is maybe Sheeran’s most anodyne pop hit, and this version, which is theatrically stomped all over by the British metalcore band Bring Me the Horizon, rescues it, recalling the essential and overlooked “Punk Goes Pop” compilation series. CARAMANICAFrontperson, ‘Parade’Frontperson is the indie-rock duo of Kathryn Calder, from the New Pornographers, and Mark Hamilton, from Woodpigeon. Blooping, calliope-like keyboard arpeggios and layers of nonsense-syllable vocals give “Parade” a blithe, circusy tone as Calder and Hamilton sing about anticipation, connection and disconnection, accepting it all: “Sometimes you’re left/Sometimes you leave.” PARELESAmbar Lucid, ‘Dead Leaves’Ambar Lucid’s music bottles youthful longing. The 21-year-old, whose debut album, “Garden of Lucid,” collected stories about escape and radical self-acceptance, seems to know exactly how to stir the soul. “Should I even bother letting anybody know how I feel?” she wonders on “Dead Leaves.” It’s soft winter balladry that contains all the pain and promise of the change of seasons. HERRERAHurray for the Riff Raff, ‘Jupiter’s Dance’“Jupiter’s Dance” is from the newly released “Life on Earth,” the seventh album Alynda Segarra has made as Hurray for the Riff Raff. The new songs contemplate the natural world and humanity’s toll on it. “Jupiter’s Dance” is a quasi-mystical reassurance — “Celestial children coming through/You never know who you’ll become” — with a glimmering bell tones and an undercurrent of Puerto Rican bomba, a brief benediction. PARELESJavon Jackson featuring Nikki Giovanni, ‘Night Song’The poet Nikki Giovanni selected the repertoire for “The Gospel According to Nikki Giovanni,” a new album by the strapping tenor saxophonist Javon Jackson that explores the lineage of Black American spirituals and hymns. But her voice appears on only one track, and it’s the one that’s not a church melody: “Night Song.” Rather that recite her own poetry, Giovanni sings this ode to unbelonging — a favorite of her old friend Nina Simone — with wistful conviction, picking up where Jackson’s gentle treatment of the melody leaves off. Her voice crinkles up on the high notes but loses none of its gravitas or tenderness as she sings: “Music, by the lonely sung/When you can’t help wondering:/Where do I belong?” RUSSONELLOChris Dingman, ‘Silently Beneath the Waves’For the vibraphonist Chris Dingman, solo playing was becoming central to his practice even before the pandemic hit. Since then, it’s been his primary mode, and he’s increasingly sought to use the big, chiming instrument as a vehicle for transcendence. That pursuit has guided him into a close study of a far tinier instrument: the mbira, a thumb piano with spiritual applications across southern Africa. On “Silently Beneath the Waves” — the opener to a new album of solo performances, “Journeys Vol. 1” — you can hear evidence of that research, as he repeats fetching, hypnotizing patterns that pull you into their force field before gradually giving way to a different shape. RUSSONELLO More

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      Kanye West Always Wanted You to Watch

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      The three-part Netflix documentary “Jeen-yuhs” shows the superstar in his earliest days, then time warps to the present, with disorienting results.No one could quite understand why the young producer was being followed by a cameraman. Almost everywhere Kanye West went beginning in the early 2000s — before “Through the Wire,” before “The College Dropout,” before anything, really — he was trailed by Clarence Simmons, known as Coodie, a comedian and public-access TV host from Chicago who had decided to document West’s attempts to become a successful musician.In “Jeen-yuhs: A Kanye Trilogy,” the three-part Netflix documentary that draws heavily on that footage, the camera serves two functions: It captures West at a vulnerable moment in his nascent career, when the future was anything but guaranteed. And it is also a kind of marker of success on its own. The camera’s presence forces the people West encounters to treat him just a tad more seriously, or at least to wonder if they should. In almost every encounter captured, there is a slight hiccup at the beginning, in which the other person wonders, what exactly are we doing here?West, one of the defining figures of the last 20 years, has been a consistent innovator in music and style. But he has also long had a preternatural grasp of the mechanisms of celebrity, how success is only truly impactful if it is imprinted onto others. West believed in himself, but wouldn’t stop until he’d convinced those around him, too.“Jeen-yuhs” is something like the demo tape of that phenomenon. It is both fascinating and obvious, eerie in the way that it foretells who West eventually would become by showing who he always has been.West, as we understand him now, is in early bloom during the first two of the docuseries’s three parts. Driving down lower Broadway in Manhattan, he tells a journalist sitting in the back seat how he feels when others tell him he’s thriving: “I might be living your American dream but I’m nowhere near where my dream is, dog. I got aspirations.” At one point, he says, “I’m trying to get to the point where I can drop the last name off my name.” (Indeed, he is now known solely as Ye.)Granting Simmons access was a combination of marketing savvy and also deep ego — “A little narcissistic or whatever,” West says. Nowadays, most pop superstars (and nowhere-near stars) are documented constantly for social media, but West understood the value of that labor early.The result is a prehistory of one of the most transfixing and agonizing celebrities of the 21st century. The footage could explain to aliens what creativity on Earth looks like. We see West recovering from his 2002 car crash, going through several dental procedures, and then getting back to work and emerging with “Through the Wire,” his debut single, which would finally catapult him toward the stratosphere. The camera captures a vivid, undimmable mind at constant, stubborn work.He asks to save the wires that held his jaw together, still bloody, for his mother, Donda. She appears throughout the film, often as a corrective force; even as West becomes more famous, he is never something other than his mother’s son. She doesn’t flinch from the lens, perhaps because the camera’s eye and that of a loving, knowing parent aren’t all that different.West also encourages the new people he meets to live out their relationship to him on camera. When he plays Pharrell Williams “Through the Wire,” Williams becomes a willing actor, walking out of the room and down the hall, overcome with thrill. After a recording session with Jay-Z in which West talks his way onto a song, Simmons prompts Jay-Z for a quote, asking him to literalize his co-sign of West for the camera.Not everyone plays along with West’s schemes. It’s odd to watch Scarface, one of rap music’s great philosophers, effectively pass on “Jesus Walks,” maybe the most meaningful and popular spiritual hip-hop song of all time. He also chides West for leaving his orthodontic retainers out on the countertop, a light spank from elder to child. (The retainers appear on several occasions, a symbolic embodiment of West’s still unformed persona.)There is, perhaps surprisingly, ample footage like this — this was an era in which West was almost always the less successful person in any interaction. Note the hangdog way in which he skulks out of the Roc-A-Fella Records office after going door to door and playing music for various executives, who seem to regard him as a lovable nuisance. Given how West moves through the world now, it’s disorienting to see him, time and again, as a supplicant.This is footage that most hagiographers would omit, but Simmons and his directing partner Chike Ozah — professionally, they’re known as Coodie & Chike — understand their subject differently. Simmons was inspired, he says in the film, by the Chicago basketball documentary “Hoop Dreams,” a film that cuts its melancholy with bolts of hope.And much about West in the early 2000s, before Roc-A-Fella Records relented and signed him as a recording artist (rather than just a producer), is lightly tragic. When West is at an industry event with far more famous people, in search of a little validation, Simmons films him from a distance, emphasizing his relative smallness. But even this footage doesn’t feel directed so much as captured, tiny moments that in the rear view appear huge.Cameras are not neutral — they change their subject. But while everyone lies for the camera, some people live in the camera. Throughout the film, West often appears most mindful of how history might regard him, driven by a sense that in a room full of people, the most important connection he could make was with Simmons’s lens. (See the scene in which he and Mos Def rap “Two Words,” and West appears to be staring through the camera’s aperture somewhere into the future.)Simmons offers largely space-filling voice-over throughout the film, not an unreliable narrator so much as an uncertain one. There is either far too much or not nearly enough of him, more likely the former: The segments where he links West’s story to his own feel particularly ill-placed, a distraction that doesn’t offer context on the main subject. And some narrative choices are contrived: Too much time is given over to West’s desire to be featured in an MTV News segment spotlighting new artists. (It so happens that MTV was where Simmons and Ozah met.)The success that Simmons had hoped to capture ended up being his termination notice — once West’s career was finally operating under its own steam, he left Simmons (and his footage) behind. That alone would have made for a compelling film. But the third segment, which is far more scattershot, consists largely of scraps that Simmons accrues over the next couple of decades, an era in which West becomes something unfamiliar to him: a world-building superstar.This episode is less narratively satisfying and coherent than the first two, but Simmons’s indiscriminate eye and his pre-existing comfort with West end up as assets. Where in the early 2000s, Simmons had an aspirant as his subject, now he has someone who exists between superhero and autocrat, a figure who isn’t performing simply for one camera but for a world of cameras and observers.There is a grim scene in which West is speaking with potential real estate partners, a gaggle of older white men, and tells them, “I took bipolar medication last night to have a normal conversation and turn alien to English.” He likens his treatment by the public to being drawn and quartered.Simmons lingers for a while — this is who his subject has become, and it is as important to see as any of the clips from when he was simply an up-and-comer. But real as it is, this isn’t the West that Simmons knows, or can stomach. There’s something itchy in the camerawork, and eventually Simmons does something that doesn’t seem to come naturally: He turns the camera off. More

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      Rap Takes Over Super Bowl Halftime, Balancing Celebration and Protest

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      Dr. Dre, Snoop Dogg, Eminem, Kendrick Lamar, Mary J. Blige and 50 Cent asserted the power of hip-hop’s oldies generation on pop music’s most-watched stage.Leading up to Sunday’s Super Bowl halftime show, much ado was made over the fact that this would be the first year that hip-hop occupied the center of the concert. It was marketing copy that overlooked the glaring lateness of the achievement — that rap was finally getting the spotlight in perhaps the 20-somethingth year of hip-hop occupying the center of American pop music. Does progress this delayed still count as a breakthrough?After several years of grappling with an assortment of racial controversies, the N.F.L. likely wanted credit for showcasing Black music — especially hip-hop, the lingua franca of American pop culture — this prominently. What would some of rap music’s generational superstars — Dr. Dre, Eminem, Snoop Dogg, Kendrick Lamar — titans with little fear for their reputations, do with this most visible of platforms?The stories told on the SoFi Stadium field Sunday night were multilayered, a dynamic performance sprawling atop a moat of potential political land mines. In the main, there was exuberant entertainment, a medley of hits so central to American pop that it practically warded off dissent.Dr. Dre opened up the performance behind a mock mixing board, a nod to the root of his celebrity: the ability to mastermind sound. For the next 12 minutes, vivid and thumping hits followed, including “The Next Episode,” a wiry collaboration between Dr. Dre and Snoop Dogg, wearing a blue bandanna-themed sweatsuit; “California Love” (mercifully, delivered without a hologram of Tupac Shakur, as some had rumored); Eminem’s stadium-shaking “Lose Yourself”; Lamar’s pugnacious and proud “Alright”; and a pair of songs from Mary J. Blige, the lone singer on the bill.50 Cent, hanging upside down from the ceiling of the set, was an unannounced guest, performing his breakout hit “In Da Club,” one of Dr. Dre’s seminal productions. (This was almost certainly the most bleeped halftime show ever.)Mary J. Blige, the lone singer on the bill, performed two songs including “No More Drama.”AJ Mast for The New York TimesThe performances were almost uniformly excellent. Lamar was stunning — ecstatically liquid in flow, moving his body with jagged vigor. Snoop Dogg was confident beyond measure, a veteran of high-pressure comfort. Eminem, insular as ever, still emanated robust tension. Blige was commanding, helping to bring the middle segment of the show into slow focus with a joyous “Family Affair” and “No More Drama,” rich with purple pain. And Dr. Dre beamed throughout, a maestro surveying the spoils of the decades he spent reorchestrating the shape and texture of pop.But the true battles of this halftime show were between enthusiasm and cynicism, censorship and protest, the amplification of Black performers on this stage and the stifling of Black voices in various stages of protest against the N.F.L. Just a couple of weeks ago, the N.F.L. was sued by the former Miami Dolphins head coach Brian Flores who said he had faced discriminatory hiring practices.This halftime show, which scanned as an oasis of racial comity if not quite progressivism, was the third orchestrated as part of a partnership between the N.F.L. and Jay-Z’s entertainment and sports company, Roc Nation, that was struck in the wake of the kneeling protests spawned by Colin Kaepernick in 2016.“It’s crazy that it took all of this time for us to be recognized,” Dr. Dre said at the game’s official news conference last week, underscoring that the N.F.L. essentially chose to wait until hip-hop had become oldies music — apart from Lamar, all the artists Sunday had their commercial and creative peaks more than a decade ago — in order to grant it full rein on its biggest stage.The N.F.L. is notoriously protective of its territory, and mishaps at the halftime show — Janet Jackson’s wardrobe malfunction, M.I.A.’s middle finger — have tended to cause outsized public brouhahas. Halftime may well be one of the last stages in this country where hip-hop still feels like outsider music, amplifying the sense that the interests of the league and of the performers might not have been fully aligned.Eminem concluded “Lose Yourself” on one knee.AJ Mast for The New York TimesThis year’s event also took place in Inglewood, just 20 minutes west of Compton, where Dr. Dre was a founder of N.W.A, one of the most important hip-hop groups of all time, godfathers of gangster rap and agit-pop legends. Compton was embedded into the stage setup: the buildings included signs for its various landmarks, including Tam’s Burgers, Dale’s Donuts, and the nightclub Eve After Dark, where Dr. Dre used to perform with his first group, World Class Wreckin’ Cru. The dances, from Crip-walking to krumping, were Los Angeles specific. Three vintage Chevrolet Impalas served as visual nods to lowrider culture. Lamar performed his segment atop a massive aerial photograph of the city.Understand the N.F.L.’s Recent ControversiesCard 1 of 5A wave of scrutiny. More

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      Kodak Black Is Shot in Los Angeles

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      The rapper, whose legal name is Bill Kapri, was shot in the leg while assisting another person after an “unprovoked attack,” his lawyer said.The rapper Kodak Black was among four people shot outside a party in Los Angeles early Saturday after what his lawyer said was an “unprovoked attack” on a person he was with at the time.The injuries were not life-threatening and no arrests have been made, the Los Angeles Police Department said on Sunday.Black, who was born Dieuson Octave and whose legal name is Bill Kapri, was sentenced in 2019 to nearly four years in prison on federal weapons charges. President Donald J. Trump commuted his sentence in January 2021, in his final hours in office.His lawyer, Brad Cohen, confirmed that Black was one of the shooting victims in a statement on Instagram on Sunday.There was “an unprovoked attack on an individual Kodak was with,” Cohen wrote. Black came to this person’s aid, Cohen said, and “several shots were fired at them by an unidentified assailant.”He added: “Kodak was struck in the leg. It was not life threatening, he will make a full recovery and he is in stable condition.”Cohen’s message on Instagram included a screen shot of an article from TMZ that said the shooting took place “right in front of a slew of celebs” who were attending a party after a Justin Bieber concert.TMZ said the party was at the Nice Guy, a bar and restaurant that describes its aesthetic as paying “homage to a decadent era of Mafia bars and restaurants.” The guests included Drake, Leonardo DiCaprio, Tobey Maguire, Kendall Jenner and Khloe Kardashian, TMZ reported.Cohen did not respond to questions about the shooting, and the police have released few details.The episode began around 2:45 a.m. local time when “a physical altercation between several individuals” erupted and gunshots were fired on the 400 block of North La Cienega Boulevard, the Los Angeles Police Department said in a statement.Two gunshot victims were taken to a hospital, the police said.At some point the police learned that there were two additional gunshot victims who had “self-transported to local hospitals,” according to the statement. “All four victims are listed in stable condition,” the police said.A police spokesman on Sunday said no information about the other victims was available.Black did not respond to a direct message on Instagram seeking comment on Sunday, but he did post a brief message about the Super Bowl to his more than four million followers on Twitter.Black, who is from Pompano Beach, Fla., topped the Billboard album charts in December 2018 with his album “Dying to Live” and has a new album scheduled for release on Feb. 25.In November 2019, he was sentenced to 46 months in prison after he admitted that he had lied on background check forms while buying firearms that year.Federal prosecutors in Miami said two of the guns were later found by the police at crime scenes, including one — with Black’s fingerprints and a live round in the chamber — that had been used to fire at a “rival rap artist.”Prosecutors had asked for him to be sentenced to 46 to 57 months in prison. In court, Black apologized and told the judge, “I do take full responsibility for my mishap,” The South Florida Sun Sentinel reported.U.S. District Judge Federico Moreno told the rapper: “Young people do stupid things. But the problem is that you’ve been doing stupid things since you were 15.” More

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      The Kanye West Documentary 'Jeen-yuhs' Finally Hits Netflix

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      The new three-part film “Jeen-yuhs: A Kanye Trilogy” has been in the works since the early 2000s. In an interview, the directing duo Coodie & Chike discuss its long journey to Netflix.“Jeen-yuhs: A Kanye Trilogy,” Netflix’s three-part documentary about the rise of Kanye West, does not dwell, or seek to correct the record, on the most well-known of the rapper’s celebrity blowups. George W. Bush, Taylor Swift, Donald Trump and Kim Kardashian hardly factor. There has never been a shortage of West analyzing his own travails, after all.Instead, relying on casual footage chronicling the lead-up to and immediate aftermath of West’s 2004 debut album, “The College Dropout,” the four-hour-plus film lingers on quieter, pre-fame moments: chats with his mother, Donda, about the difference between confidence and arrogance; the desperation of trying to play his demo CD for disinterested peers; a more respected artist being disgusted by West’s orthodontics retainer.Behind the camera throughout was Clarence Simmons, a stand-up comedian-turned-director known as Coodie, who along with his creative partner, Chike Ozah, has been compiling video of West for more than 20 years. But that wasn’t always the plan.Originally conceived as a “Hoop Dreams”-style feature, the documentary was supposed to end in the early 2000s, with West — who is now legally known by his old nickname, Ye — winning his first Grammy Award. But as West developed from a nerdy Chicago beatmaker for Jay-Z to a polarizing, era-defining artist across music, fashion and more, he grew apart from Coodie, an old neighborhood friend, and changed his mind about the project, leaving hundreds of hours of tape in limbo.Following some false starts and brief reconciliations, the directing duo Coodie & Chike, as they are credited, finally found traction — and more time with West — in recent years, amid another uptick in controversy. West’s mental health struggles, disastrous 2020 presidential run and recent album named for his late mother all get some airtime in the third episode.Yet the core of “Jeen-Yuhs” remains the vérité depiction of West’s chrysalis years, with Coodie filling in the gaps in time by telling his own story of personal metamorphosis and creative ambition. “This is not the definitive story of Kanye West, this is the story told through the most unique perspective,” said Ian Orefice, the president of Time Studios, which co-produced the project.Ahead of its first-episode premiere on Wednesday, Coodie and Chike discussed the long-gestating documentary, the ups and downs of living alongside mega-fame and West’s last-minute demands for final cut of the film. These are edited excerpts from the conversation.Chike Ozah, left, and Clarence Simmons, known as Coodie, collected early footage of West’s rise — and then had to wait.Rafael Rios for The New York TimesThe film begins with the premise that you always knew Kanye would make it big. What first convinced you that he was going to be a star?COODIE It started with his production. But then I would just keep running into Kanye, and I remember he was performing with his group, the Go Getters. He just commanded the stage. I was like, “This is the dude! The producer — he’s the one.” Then I saw how he loved the camera. He was loving the camera. He wanted to rap for anybody, and it was just like he was performing for a thousand people, but it’s just one person and he’s rapping to them.What was Kanye’s original reason for not putting a film out back then? In the footage, he’s so excited to tell people you’re making a documentary.COODIE He said, “Man, I don’t want nobody to see my real self.” He said, “I’m acting right now.” It was too intimate. But I feel like the reason why he was loving me filming him at the beginning was just because I was that dude, really. I was popular in Chicago — cool, funny.CHIKE You brought value to his brand in Chicago instantly, just by deciding to have him on Channel Zero [Coodie’s original hip-hop show on public access television].COODIE The greatest ambition was for him to win a Grammy, and I wanted to follow him to see it. But it’s definitely, definitely a blessing that it didn’t come out, because I didn’t know what I was doing at all.What was it like to watch the rest of his rise from more of a distance?COODIE I was so proud ​​to see him accomplishing all the things he was accomplishing. But then I felt left out, too. Like when he went to Oprah, I’m like, “I want to meet Oprah!”CHIKE It’s not all peachy and clean. I think that’s the case with anybody that’s on the rise to stardom like this. Coodie and I definitely felt what it’s like when outsiders come in and start jockeying for position. We had that Bryan Barber and Outkast vibe for a minute — like we’ll rise together and do all these music videos. But as he got bigger, more people started coming into the fold and you just get pushed out. Luckily, Coodie and I had a relationship and a bond together and we were able to find creativity elsewhere.At that point, did you believe the project to be dead or did you always assume you would return to it eventually?COODIE I felt like we would come back to it someday. I used to look at all the mini-DVs, and the bigger he got, I knew how much more valuable my footage would be: One day in God’s time, this is going to happen.He sat us at the table at Kris Jenner’s house, right before “Pablo” [the “Life of Pablo” album in 2016], he was like, “Man, you know, I get misunderstood a lot.” He asked us to be his voice. We thought it was time for the documentary to come out, for people to see the real Kanye. He was working with Scooter Braun at the time and we were at HBO with it. Then all of a sudden, they had other plans for Kanye. We were right there and it just went to nothing.It felt, to me, that Kanye was crying out for help at that moment. Right after, he went on the Saint Pablo tour and that’s when he had the breakdown — he calls it the “breakthrough.” I was really, really worried. I thought we were supposed to help him and we weren’t able to because of the powers around him. Not only did I feel worried, I was extremely mad about it.“I did ask Kanye, ‘Did you watch the film?’” Coodie said. “And he said that’s not his process.”NetflixOn a practical level, how did you keep all those tapes safe?COODIE I really didn’t even. You’d just see it in a duffle bag, shoe boxes.CHIKE But it’s like bricks of gold in there.COODIE It’s in storage now, though!When did you know that you finally had his full buy-in?COODIE When I showed him the sizzle. He called me out of nowhere and said he was working on an album about his mom and he wanted to use some of my footage. He asked for my blessing and I said, “Oh, for sure, but I need your blessing for something. I’ll fly wherever you’re at.” His security called me like, “Can you come to D.R. tomorrow morning?” When I finally showed him the sizzle, he was like, “We’ve got to put this out tomorrow.”There’s a moment in the footage from the Dominican Republic when he goes off on what some might call a classic Kanye rant and you cut the camera. Why?COODIE I felt like I needed to pay attention. I’ve never filmed him like that. When I film him, there’s a certain way that he is with me — he’s himself. At that moment, he was not himself. When you’re taking medication, you’re not supposed to have alcohol. I knew Kanye wasn’t supposed to drink. It just so happened he had a drink in his hand. I wasn’t going to interrupt this business meeting to say something, but I kind of wanted to. It seemed like right after that drink, something happened. I said, “Forget this camera — this is my brother right here.”Once the film was in motion, how involved did he want to be and how involved did you want him to be?COODIE He said, “Let’s me and you do it,” and I told him, “You have to trust me on this.” Meaning no creative control. I said, “It would not be authentic if you have it.” He got all of that. And that was it.Then you get to the 1-yard line, 20-plus years later, and he drops a bomb on Instagram about wanting final cut.COODIE I almost fainted [laughs]. It was on my birthday — Jan. 18. He didn’t post that then, but I’m getting text messages. I’m like, “What? We finished!”On his birthday [in June], I went to L.A. with the rough cuts of the film to show him. I said the only way you can watch this film is with everybody who was there at the beginning who loves you. So we was getting a house, I had everybody ready to go — we’re going to laugh, cry, embrace Ye. But he wound up going to the South of France and it didn’t happen. Then my birthday, I get that text — next thing I know, I look up and here comes everybody with the cake. “Happy birthday to you!”Did he ask again about getting into the editing room?COODIE Nah, his process is to have people look at it, so we showed them the film. I did ask Kanye, “Did you watch the film?” And he said that’s not his process.The movies that we’ve done, nobody had final cut. We did Martin Luther King — the family didn’t have final cut. We did Muhammad Ali — they didn’t. Stephon Marbury didn’t see his documentary until aired it at Tribeca. Our intent is pure and that’s really all that matters.Do you have favorite stuff from the cutting room floor that you just couldn’t squeeze in there, no matter how much you wanted to?CHIKE There’s a scene when Kanye goes back to Chicago to perform at a tribute to people who were lost in the E2 tragedy [a stampede at a Chicago nightclub]. When he gets there, he ends up having to settle up a beef with another rapper. He almost gets a bottle cracked over his head — it gets real ugly. It could’ve gone somewhere worse. And Kanye’s not even that type of artist! But he still can’t escape the street mentality. And it deals with a beat that Jay-Z ended up with that helped propel Kanye’s career.COODIE It was “Never Change” on “The Blueprint.” He sold Jay-Z the track that he sold to [the Chicago rapper] Payroll as well. Payroll wrote the hook — “out hustling, same clothes for days.” Kanye let Payroll know he was about to sell it, but he also did Payroll’s hook. Kanye took care of Payroll after that, but Payroll was like, hold on … He said, “Kanye you’ve got to give me more.” I’m telling them like, nah! But for them to crush the beef was good, too.Kanye is back in the tabloids these days because of his divorce. When you see this celebrity hurricane side of his life, do you worry for him?COODIE I used to worry, but I know that God has his back. He almost died in a car accident a couple of times — he had a car accident in Chicago even before he moved to New York, flipped his truck over. A couple other incidents that I’ve seen — God is really looking out for him, for whatever reason. When I see this now, I’m like, it’s going to pass like everything else did. More

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      How Hip-Hop Inched Its Way to the Super Bowl Halftime Stage

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      At Sunday’s game, Dr. Dre, Snoop Dogg and Kendrick Lamar will lead the first-ever halftime performance with rap at its center. The genre has taken a roundabout path to get there.On Sunday at SoFi Stadium in Inglewood, Calif., the Super Bowl halftime show will feature the local rap heroes Dr. Dre, Snoop Dogg and Kendrick Lamar, placing hip-hop firmly at the center of the annual spectacle, which is routinely watched by more than 100 million people, for the first time.The show, which is being produced in part by Jay-Z’s entertainment and sports company, Roc Nation, will also star Eminem and Mary J. Blige, but it will not be the first to include rap music. The genre has taken a rocky, roundabout path to headliner status at the Super Bowl, with this year’s event coming at an increasingly fraught moment for the N.F.L. regarding race.That baggage is nothing new: At least since 2016, when the quarterback Colin Kaepernick began kneeling during the national anthem to protest police killings of Black people, the league has faced questions about its commitment to diversity and social justice, on the field and off. More than 70 percent of the league’s players are Black, but the N.F.L. has no Black owners and, until recently, only one Black head coach. This month, Brian Flores, the Miami Dolphins head coach who was fired last month, sued the league, claiming he and others had been discriminated against in the hiring process.Those debates have trickled into its entertainment business. In 2017, well before his company partnered with the N.F.L., Jay-Z turned down an offer to perform at the Super Bowl, and reportedly urged others to do the same. In subsequent years, with Jay-Z declaring “we’ve moved past kneeling” to some backlash among players and fans, Roc Nation has booked pop extravaganzas featuring the Weeknd, Jennifer Lopez and Shakira.But Dr. Dre and Snoop Dogg — while among the most recognizable hip-hop veterans with decades of hits and pop culture cachet between them — represent something different, and that may be the idea. “At one point, Dre was in a group that was banned by popular culture,” said Will.i.am of the Black Eyed Peas, which headlined the show in 2011, referencing the widespread controversies of Dr. Dre’s early gangster rap act N.W.A.That the N.F.L. has now turned to these once-controversial figures with their own checkered pasts may seem far removed from the days of pearl-clutching regarding Janet Jackson’s 2004 wardrobe malfunction, M.I.A.’s middle finger in 2012 and Beyoncé’s nods to the Black Panthers in 2016. But some say it’s also indicative of the league’s long, jagged journey to embrace Black music and culture — especially rap — as well as its need to shore up its community bona fides now.“The N.F.L. is positioning the halftime show as a meaningful occurrence,” Dr. Ketra Armstrong, a professor of sport management at the University Michigan and the director of the Center for Race & Ethnicity in Sport, said in an interview. “But to some, it seems performative for the N.F.L. to feature these artists. It feels like window dressing. You’re using Black talent to entertain the masses, but what are you doing that would honor the essence of hip-hop, like addressing racial injustices in the communities that have bred this labor force of Black talent?”Dive Deeper Into the Super Bowl Optimism and Anxiety: This year, SoFi Stadium in Inglewood will host the Super Bowl. What does the event mean for the city? Home Advantage: The Rams will use their usual facilities and home stadium in the game against the Bengals. Here is how they are getting ready.Cooper Kupp: The Rams receiver managed an All-Pro season, becoming a sure-handed catcher and the driving force behind the team’s success.Joe Burrow: He has led the Bengals to their first Super Bowl appearance in 1989. But he still thinks about that playoff loss in high school.The Super Bowl halftime stage was not always a place for hitmakers. In 1967, with popular music venturing into daring directions, a television audience of about 51 million watched the University of Arizona Symphonic Marching Band perform a selection of tunes including the Dixie anthem “Waiting for the Robert E. Lee.”Other marching bands had the spotlight for years, as did avatars of safe, family-oriented entertainment, like Andy Williams and Carol Channing. No rock performer played the halftime show until 1988, almost seven years into the MTV era, when the oldies act Chubby Checker twisted at Super Bowl XXII. Three year later, New Kids on the Block would become the first contemporary pop group to perform at the event, and the show remained blandly middle-of-the-road until Michael Jackson’s powerhouse performance in 1993.In the years that followed, established greats like Diana Ross and Stevie Wonder dominated, sometimes with more modern acts like Gloria Estefan and Boyz II Men as guests, though the burgeoning hip-hop of the 1990s remained absent. When Queen Latifah joined the Motown tribute in 1998, she performed “Paper,” one of her first songs to not feature any rapping.The next modern M.C. to take the Super Bowl stage was Nelly in 2001, as part of a larger ensemble of pop figures. He returned in 2004 and was joined by P. Diddy, bringing more contemporary rap to the performance than ever before. But that was also the year that changed everything: After a medley of appearances by Diddy, Nelly and Kid Rock, Janet Jackson sang, among other songs, “Rhythm Nation” — an idealistic ode to unity and Black power (“Join voices in protest/To social injustice”) — before finishing the show by duetting with Justin Timberlake on his hit “Rock Your Body.” Just before the commercial break, Timberlake put his hand on Jackson’s costume, pulled at it and exposed her right breast, triggering a national uproar.Missy Elliott, left, joined Katy Perry at halftime in 2015. Will.i.am performed with the Black Eyed Peas in 2011, ushering in a new era of pop on the halftime stage after a period of classic rock acts.From left: Bennett Raglin/Getty Images; Adam Bettcher/Getty ImagesFor years after, the Super Bowl halftime producers retreated to the safety of classic rock: Paul McCartney, the Rolling Stones, Tom Petty, Bruce Springsteen and the Who all performed. It was during that period of careful conservatism that Will.i.am saw an opening.“I flew out to New Jersey, went to the N.F.L. headquarters, and I pitched the Black Eyed Peas,” he said in an interview. “We weren’t, like, ‘Yo, we’re family friendly!’ Or ‘We rated PG, bro.’ My pitch was, ‘You know you need to have pop on the halftime show again.’” It wouldn’t be long, he warned the N.F.L., before they ran out of classic rock bands.In 2011, the Black Eyed Peas got the gig, inching the N.F.L. back toward the modern mainstream. But concerns about putting on a show palatable to all audiences lingered. “There’s a girl in our group,” Will.i.am said, referring to the singer Fergie. “They were nervous about that,” he said, and “checked our wardrobe like we were going through freakin’ security at the airport.”“You’ve got to understand the circumstances, and the walls that were up,” Will.i.am added. “We cracked open the door to get the N.F.L. out of that fear of pop and urban music after a seven-year break of only going legacy. To now have everybody from Bruno to Beyoncé to Dre and Snoop — talk about a total perspective change on the importance of diversity and inclusion,” he said, referring to Bruno Mars, who headlined in 2014 and returned as a guest two years later.Yet even as rap slowly regained its place on the Super Bowl stage — with Nicki Minaj, Missy Elliott, Travis Scott and Big Boi all making cameos in the last decade — questions linger about whether the music and its messages can transcend the 12-minute show now that the genre is taking prominence.“The N.F.L. is trying to look better by celebrating hip-hop, but they need to do better,” said Dr. Armstrong, the professor. “I’m hoping the artists are going to use their own power and influence to get them to do so.”A Brief History of Hip-Hop at HalftimeSuper Bowl XXXII (1998)When in doubt, it’s always safe to program something nostalgic, like a salute to Motown’s 40th anniversary (the label was founded in 1959). The featured acts were the Temptations, Smokey Robinson, and Martha and the Vandellas. To balance the generational appeal, they were joined by the label’s then top current act — the throwback harmony group Boyz II Men — as well as the Motown rapper Queen Latifah, who sang a new-jack-swing-inspired version of “I Heard It Through the Grapevine.”Super Bowl XXXV (2001)The St. Louis rapper Nelly, who’d released the breakout Top 20 pop hit “E.I.” in 2000, was an afterthought on this bill, which featured the rock band Aerosmith, then in its fourth decade, and the peppy pop phenoms ’N Sync. The two groups alternated songs, then united for the big finale, “Walk This Way,” joined by Britney Spears, Mary J. Blige and Nelly, whose “E.I.”/”Walk This Way” mash-up included only half of his first verse. Total camera time for rap: 18 seconds.Super Bowl XXXVIII (2004)Three years later, Nelly returned and performed his No. 1 hit “Hot in Herre,” which urged listeners to “take off all your clothes.” Combined with Kid Rock and P. Diddy, there was far more rap included than in any previous Super Bowl show. But this infamous halftime show is mostly remembered for the Janet Jackson and Justin Timberlake incident, in which her breast was mostly exposed. Not long after, Jawed Karim, a computer science and engineering student, grew frustrated at how difficult it was to find a clip of that moment online, and sensing a market niche for a video-sharing site, soon helped found YouTube.Super Bowl XLV (2011)The N.F.L. disappeared pop music from the halftime show for several years, eager to avoid bad publicity or Congressional criticism. But the supply of widely beloved rock stars was limited, and Ricky Kirshner, in his debut as the show’s producer, brought in the pop-rap group Black Eyed Peas. The group dashed through their many hits while leaping around a set that looked like a “Tron” reboot. And in the Super Bowl’s attempt at broader appeal, Slash of the rock band Guns N’ Roses played guitar while Fergie, of the Black Eyed Peas, sang the band’s ferocious “Sweet Child O’ Mine.”Super Bowl XLVI (2012)Madonna headlined the show in a gladiator’s cingulum — with ample help from the briefly massive party-rap duo LMFAO; the rapper and singer Cee Lo Green; and Nicki Minaj and M.I.A., two inventive rap talents who’d recently recorded “Give Me All Your Luvin’” with Madonna. M.I.A.’s verse had a few expletives, which were bleeped out, and in their stead, she raised her left middle finger to the camera. The F.C.C. reportedly received more than 200 complaints, about one for every 450,000 viewers. The N.F.L. apologized to its audience and filed arbitration claims seeking $16.6 million from M.I.A., whom they said violated a contract requiring her to comply with anti-profanity standards. This prompted M.I.A. to tweet at Madonna, “Can I borrow 16 million?” The conflict was settled out of court for an undisclosed amount.Super Bowl XLIX (2015)In the most-watched halftime show ever, with nearly 115 million viewers, the headliner Katy Perry was joined by Lenny Kravitz for a rocking rendition of her hit “I Kissed a Girl,” but the true second banana was Missy Elliott, who performed parts of three of her tracks: “Get Ur Freak On,” “Work It” and “Lose Control.” The pairing of Perry and Elliott seemed more natural than other shotgun marriages, because both are pop surrealists. More than two years later, Elliott tweeted that she’d been in the hospital the night before the Super Bowl, and when her first song started, “I was SO SHOOK. I said Lord I can’t turn back now.”Super Bowl LIII (2019)In solidarity with Colin Kaepernick, a number of Black artists were rumored to have turned down offers to perform in 2019. Instead, Maroon 5 headlined with guest spots from Travis Scott and Big Boi of Outkast. “It’s what it is,” the Maroon 5 singer Adam Levine said after people criticized the band and accused it of violating a boycott. “We’d like to move on from it.”Super Bowl LIV (2020)The N.F.L. knew it had to fix its relationship with hip-hop, and partnered with Jay-Z and Roc Nation to produce the Super Bowl halftime show. Kaepernick “was done wrong,” Jay-Z told The New York Times. “But it was three years ago, and someone needs to say, ‘What do we do now — because people are still dying?’” The headliners were Shakira, a Roc Nation management client, and Jennifer Lopez: two Latina women who have released albums in Spanish as well as English. They were joined by Bad Bunny, a Puerto Rican rapper and singer; and J Balvin, a Colombian who brought reggaeton, rap’s younger Spanish-speaking cousin from the Caribbean, to the Super Bowl stage. More

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      Syl Johnson, Soul Singer With a Cult Following, Dies at 85

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      He released dozens of records on an array of labels across five decades, and his work was heavily sampled by rappers. He enjoyed a career revival in his 70s.Syl Johnson, a Chicago soul singer and guitarist who built a cult following for his raw sound on 1960s songs like “Is It Because I’m Black” and, decades later, was heavily sampled by rappers, died on Sunday in Mableton, Ga., at the home of one of his daughters. He was 85.The cause was congestive heart failure, his daughter Syleecia Thompson said.Although never a chart-topping star, Mr. Johnson was beloved by record collectors and hip-hop producers for the driving power of his songs, and for a versatile vocal style that could match James Brown’s grunting gusto or Al Green’s lovelorn keening. He released dozens of singles and albums on an array of record labels across five decades, and he enjoyed a career revival in his 70s after an exhaustively researched boxed set, “Complete Mythology” (2010), introduced his work to a new generation.Mr. Johnson was also one of soul music’s most brazen and entertaining raconteurs, entrancing fans and journalists with his braggadocio and his tales of the music business’s underside. He proclaimed himself a “multifaceted genius” and compared himself favorably to giants of the genre like Mr. Brown, Mr. Green and Marvin Gaye.Mr. Johnson in an undated publicity photo. Although never a chart-topping star, he was beloved by record collectors and hip-hop producers for the driving power of his songs and his versatile vocal style.When Mr. Johnson’s performing career began slowing down in the 1980s, he opened a seafood restaurant in Chicago, invested in real estate and found a lucrative side business seeking out his royalties. Grooves and stray growls from tracks like “Different Strokes” (1967) and “Is It Because I’m Black” (1969) had become go-to samples in hip-hop, used hundreds of times by artists like Wu-Tang Clan, Whodini, Public Enemy, Kid Rock and N.W.A; even Michael Jackson used some of Mr. Johnson’s music.For help hunting down unauthorized samples, Mr. Johnson enlisted his children and their friends.“He would tell people in the neighborhood, ‘If you find any rapper who has sampled my music, I will pay you,’” Ms. Thompson told The New York Times in 2010. “And so all the kids, we would go buy cassettes and listen to see if we could hear his ‘wow!’ and his ‘aw!’”Mr. Johnson went after those royalties, sometimes through litigation. In recent years, his targets have included Jay-Z and Kanye West, who settled a case with Mr. Johnson in 2012.“I’m sitting in the house that Wu-Tang built with their money,” Mr. Johnson told The Times.Mr. Johnson was one of soul music’s most brazen and entertaining raconteurs, entrancing fans and journalists with his braggadocio and his tales of the music business’s underside.via The Numero GroupHe was born Sylvester Thompson on July 1, 1936, near Holly Springs, Miss., the sixth child of Samuel and Erlie Thompson, who farmed cotton and corn. Samuel Thompson sang at a local church and played the harmonica, and Sylvester and his older brothers Jimmy and Mack all took up the guitar. By 1950, the family had moved to Chicago.By the late 1950s, Sylvester was accompanying blues players like Junior Wells and Jimmy Reed, and in 1959 his first single, “Teardrops,” with echoes of the R&B crooner Jackie Wilson, was released under the name Syl Johnson on the Federal label. His stage name was chosen by Syd Nathan, the impresario behind King Records, of which Federal was a subsidiary.Mr. Johnson’s brothers also had extensive careers in music. Mack Thompson, a bassist and guitarist, died in 1991. Jimmy Johnson became a prominent blues guitarist in Chicago and died on Jan. 31 at age 93.Syl Johnson released singles on a variety of labels throughout the 1960s, with limited success, before signing with Twilight Records in 1967. Songs he recorded for the label like “Come On Sock It to Me,” “Dresses Too Short” and “Different Strokes,” with their gritty funk grooves and powerful vocals, raised his profile. “Different Strokes” — whose frequently sampled opening features Mr. Johnson’s deep grunts alongside giggles from the singer Minnie Riperton — reached No. 17 on Billboard’s R&B chart. (After learning that another label already owned that name, Twilight Records eventually rechristened itself Twinight.)“Is It Because I’m Black,” written as a response to the assassination of the Rev. Dr. Martin Luther King Jr., added a note of bitter social commentary. “Something is holding me back,” he sang. “Is it because I’m Black?”In 1971, Mr. Johnson signed to Hi Records in Memphis, Al Green’s home, where he worked with Willie Mitchell, the label’s house producer. Mr. Johnson’s time there — his output included a cover of Mr. Green’s “Take Me to the River” in 1975 — gave him perhaps his greatest exposure, though he later said he wished he had continued to record in Chicago.Mr. Johnson in performance at the Music Hall of Williamsburg in Brooklyn in 2009.Piotr Redlinski for The New York TimesHe continued recording into the 2000s, including an album with his brother Jimmy called “Two Johnsons Are Better Than One.” But he had mostly retired from music when he was approached in 2006 by the Numero Group, a Chicago label known for its extensive research, about a reissue project. Distrustful of record companies, he rebuffed the company for nearly four years.When he finally agreed, the label produced a six-LP, four-CD monolith with crisp historical photos and detailed liner notes. The boxed set cemented Mr. Johnson’s legacy and established Numero’s credentials as an authoritative outlet.“There is no Numero without Syl Johnson,” said Ken Shipley, one of the founders of the label, which has continued to represent Mr. Johnson as the owner of his music publishing rights and most of his recordings.In 2015, Mr. Johnson was the subject of a documentary, “Any Way the Wind Blows,” directed by Rob Hatch-Miller.In addition to his daughter Syleecia, Mr. Johnson’s survivors include three other daughters, Sylette DeBois, Syleena Johnson and Michelle Thompson; a son, Anthony Thompson; two sisters, Vivian and Marva Thompson; and a number of grandchildren and great-grandchildren.Mr. Johnson could be bitter in recounting his experiences with the music industry, but in later years he often expressed gratitude for being given another chance to make his mark.“Back in the day I didn’t get the proper chance, like a lot of people,” he told The Times after “Complete Mythology” came out.“But I didn’t drop out of my dreams,” he added, “and now these people went back and picked it up and said, ‘This is gold right here, man, you missed the gold.’ And I think that once you check it out, you’ll like it.” More

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      2 Chainz Is a Dedicated Father With a Competitive Streak

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      The rapper’s list of must-haves revolves around his love of sports and his three kids, although he’s not above teaching them the art of losing.The Atlanta rapper 2 Chainz has lived a lot of life.A one-time college athlete born Tauheed Epps, he scored his first major hit as a rapper with the Lil Wayne-assisted “Duffle Bag Boy” in 2007, when he was still known as Tity Boi, one half of Playaz Circle. By 2011, Epps had rebranded himself 2 Chainz, releasing a series of solo mixtapes considered regional classics and eventually signing with Def Jam.In the decade since, the rapper, now 44, has fashioned himself into one of the premiere hip-hop emissaries across culture with his roguish magnetism and whimsical boasts, outlasting countless peers as he diversified into a television host (starring in Viceland’s luxury goods show “Most Expensivest”) and brand pitchman (appearing in a Super Bowl commercial and recently partnering with Krystal for “creative marketing”).His seventh album as 2 Chainz, “Dope Don’t Sell Itself,” out Friday, is a nod to the rapper’s enduring subject matter — his past as a drug dealer — but has been billed as his “last trap album.” Featuring a new generation of hustlers-turned-artists like Lil Baby, Moneybagg Yo and Lil Durk, the release will likely be “the last time you’ll hear all of this type of stuff in one space,” 2 Chainz clarified in a recent phone interview, as he explores “other types of music that I enjoy doing — sample-based, digging in the crates, the more lyrical side of 2 Chainz.”“Music, for the most part, is a young man’s game, but I’m just as energetic and passionate as I was when I first got on,” he said. “I was a late bloomer anyway.”Calling from a luxury vehicle, 2 Chainz shared 10 of his beloved necessities, most of which revolve around his ultimate reinvention: becoming a family man.Here are edited excerpts from the conversation.1. A Higher Power Off top, we gotta give praise to God. My beautiful kids keep me going — having an extension of myself, it just brings on new responsibilities, new challenges. I have three kids: A 13-year-old who’s really into volleyball, a 9-year-old who’s very into art and expression. My youngest is my only son — he’s 6 years old and he’s really into basketball. I can honestly say he completes me. I thank God also for my wife and my mom. My wife, obviously, for procreating with me and being such a good life partner. And my mom, for birthing a millionaire, a genius, a guy who still has some of the best ideas and marketing rollouts in the game.2. Atlanta Hawks Basketball is my primary joy in life. We like to go watch the Hawks games. I’m also a minority owner of a byproduct of the Hawks, the College Park Skyhawks. We get a lot of perks, and the kids like to go in there and run around, let their hair down. It’s about me trying to find a way to not just use my money but use my time to be a part of their lives, whether it’s picking them up from practice or just going over homework. My jump shot is still super wet, and I teach them. We go out on the court and do drills together, so they honor my game and they respect it.3. ESPN You know I’m into my sports, so I can’t live without ESPN — period. That’s all I watch. I go to sleep maybe 6 a.m., get up maybe noon, hit the gym. I start working late at night and it stays on in my studio. It’s probably on six, seven hours a day. It’s wall-to-wall with me, man. I’m watching “SportsCenter” and my wife just goes to her iPad and watches Netflix.4. Raw Rolling Papers My guy Josh laces me with all the up-to-date and newest Raw releases — whatever product comes out. The type of papers I use come in rolls, that’s why my joints be longer than a lot of people’s. Think of a tissue roll, except it’s raw paper.5. Me Time Every other week — every 10 to 14 days — I get a manicure and pedicure. I call it “me time.” I just really go sit down, I’m checking emails, might order a drink from next door and watch ESPN. Just let somebody pamper me — massage my feet, massage my hands. I feel like I put in enough work to get those types of perks. I care about myself and the temple that God blessed me with.6. “Scarface” One of the original stories of nothing to something. I come from that. I wasn’t a dishwasher, I wasn’t necessarily from Cuba or anything like that. But, man, I ain’t have nothing. Now I’m talking to you in my Maybach truck, smoking one of these long joints.7. Craps It may be funny, but I recently taught my kids how to shoot craps. Craps helped me triple my re-up. Craps also hurt me. But there was an era when I couldn’t lose. I remember going to get my first gold teeth from shooting dice. The reason I put it on the kids wasn’t because they would have to go get gold teeth, it was so they could see something, math-wise. That’s a byproduct of being from Atlanta, really knowing how to gamble and shoot dice. My nine-year-old got a little upset when she lost her money. But I’m making them feel all that!8. Trappy Goyard My dog Trappy, the original Frenchie — you can look him up on IG. I would call him the godfather: a lot of Frenchies came after him but none could match that blue fawn coat and big ol’ pretty head and smile, muscular toned body. My wife’s got a dog that’s 18-year-old. I might look it up in the Guinness Book. Gucci’s a girl Chihuahua. She barks and she bites people. Amazon Prime — bit. Instacart — bit. Little cousins — bit. I need to clone her. She’s older than my kids! I think it’s $25,000 for cats, $50,000 for dogs.9. Quiet Storm Radio If you’re talking about a Sunday when I’m just getting up from a long Saturday night where I’ve been smoking my gas, drinking a little Casamigos, micro-dosing a little shrooms, I might want to hear something soothing and player. I eat pancakes on Sundays — I don’t eat stuff like that during the week — so my wife might be walking around making my turkey bacon and pancakes. I put on 104.1 [WALR-FM, Kiss FM in Atlanta] and I listen to whatever they’ve got in rotation. Everything from Frankie Beverly to old Michael Jackson. Quiet storm is a perfect way to describe what I want on Sundays.10. Grown-Up Toys Family time, we get in the yard a little bit. We will pull the ATVs out. I have 100 acres at the house, so all of my kids know how to ride four-wheelers. I have a few different grown-up toys, I like to call them. The Can-Am side-by-side, the Polaris. I got a Sherp — Ye bought like 10 or 20 of them. That’s the biggest toy and if somebody sees it, they want to get lost in the woods. I got some fast [expletive], I got some [expletive] I done flipped. But I’m still here. More